When Mariana de Miguel, known as Girl Ultra, emerged from Mexico City in 2017 with her debut EP, she was hailed as the bright new promise of Latin R&B. Since then, the 26-year-old singer has expanded her horizons, releasing a number of exquisitely layered tracks that draw from a variety of moods and styles.

Her new EP — El Sur, referencing the Southern side of Mexico City where she grew up — is a sophisticated party album with barely hidden shades of longing and regret. From the nervy post-rock energy of lead single "Punk" — a collaboration with fellow DF band Little Jesus — to the electro-soul coolness of "Cosas Que Nadie Ve," El Sur finds the wispy-voiced artist in a decidedly experimental mode.

Girl Ultra spoke with GRAMMY.com about her '90s fetish, the occasional bout of impostor syndrome and the need to learn how to love.

Some of the most dance-friendly songs on the EP are also deeply melancholy.

It’s the kind of energy that defines me as a person. There’s always a melancholy tinge deeply ingrained in everything I do, no matter what the BPM may be. You can be sad and still find solace dancing in the clubs.

There is a factor there — something strange and nostalgic. Also the choice of specific chords and arrangements may lead you to a feeling of emptiness. Moby’s Play is a good example of that. An album full of upbeat tracks, and still you feel sad when you’re done listening to it. That bittersweet feeling on the dancefloor sums up what daily existence is all about.

There’s a really nice effect on the track "Bombay," around the one-minute mark, where the melody suddenly changes key. Was that designed from the beginning? 

Definitely. We wanted to make a house track that was dark and disruptive. That dissonance you mention creates a jarring effect — and then the playful vocals harness it all back together. In a way, that moment signifies what we wanted to achieve on the entire EP. To challenge ourselves, break away from what could be expected from a Girl Ultra record. I also have a taste for the weird.

What’s your songwriting process like?

I usually sing a melody on top of chords that I like. I can play a bit of keyboards or guitar during songwriting. On this particular EP, it was a room full of people and we all knew what our specific role was. I enjoyed directing these great musicians and seeing what comes up.

I prefer to capture the inspiration of the moment, write the melody and finish the lyrics on the same day. I’ve tried the exercise of taking the melody with me and thinking up new lyrics, but then you’re searching for that Holy Grail moment when the song can be considered complete. Ground zero is a valuable tool for musicians — the moment a song is born. Nothing will ever be the same. There’s something sacred about that specific moment.

Was there a specific moment when you realized you have a gift for crafting great songs? 

I’ve always lived with the impostor syndrome. I’ve been writing since I was little — not necessarily songs, but I’m always leaving fragments of texts all over the place. Songwriting walks hand in hand with life itself — sometimes you write a song in an hour, then there’s a dry patch that can last a couple of months. I’ve learned to be perceptive and find inspiration in other people’s stories, distorted memories or bits of conversations I may hear in the street. It’s a muscle that I had to develop in order to be productive. 

What was it like, growing up in "El Sur" — the southern side of Mexico City?

It’s a quiet area. People who live there say that the law doesn’t quite make it to the South side, unlike in the most gentrified neighborhoods. It’s a wide area, so you have the upper class sector and the hood. I had friends all over the South — I could go to a party at Colonia del Valle, but then it could turn into a perreo event at Azteca. I was always moving in that same area. Whenever I go back, I regress to those memories of time and place.

On "Amores de Droga" you say: A mí nadie me enseñó a querer — no one taught me how to love. Why? 

There are not many love stories in my family. All of them have ended. "I wasn’t born to fall in love," the song begins. But you’re still addicted to love — you seek out your own resources in order to learn how to love. No one can really teach you. There’s no manual available.

"Para Que Te Acuerdes De Mí" has an almost trip-hop vibe. Are you obsessed with the '90s? 

I totally am [laughs]. I think the '90s was the last decade when humanity was hopeful. There was a lot of speculation about what the future would look like, and everything sounded fantastic. Then the new century began with the realization of global warming and the world went to shit. Music changed radically, and a collective depression set in.

We’re an emo generation, and we look up to the '90s because of that. I especially admire how raw and visceral the music from that time sounds — how immediate its message was.

You’re starting a new tour soon. Is it scary, stepping onstage in front of so many people?

It is, but lately I’m beginning to see it as a therapy of sorts. I’m a very nervous person — to give you an example, I’ve been singing a cover of Miguel Bosé’s "Morena Mía" for the longest time, and I still flub the lyrics sometimes. So I need to write out the chords and keep them in sight as a precaution. Sometimes I’m so nervous my hands get numb — then again I can come out screaming and have a great time. I think the moment you manage to connect with yourself and the band, then everything is fine.

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With the arrival of July, half of 2024 is already behind us. It's been a remarkable, prolific year in music, with notables like Beyoncé, Taylor Swift, and even Paul McCartney's band, Wings, making brand new comebacks. The artists releasing albums in the coming months will have to strive to keep up the pace — but judging by July's upcoming blossoms, this won't be an issue.

The month will start strong with Megan Moroney's sophomore LP, Am I Okay?, Sturgill Simpson (now Johnny Blue Skies)'s Passage du Desir, OneRepublic's Artificial Paradise, and John Summit's debut, Comfort in Chaos. Later on, 5SOS's drummer Ashton Irwin will bring forth the second part of his sophomore solo, Blood on the Drums, alt-R&B star BLK ODYSSY will unveil the concept album 1-800-FANTASY, and rock legends Deep Purple will come forward with their twenty-third LP, =1. Alt-pop duo Cults will return with their fifth album, To The Ghosts, and 2023's revelation Ice Spice will also drop her long-awaited debut, Y2K!.

Below, GRAMMY.com crafted an exciting list with 15 unmissable albums coming out July 2024. 

Almost a decade ago, country rockstar HARDY found a napkin with the word "quit" in his tip jar. In 2024, the napkin became history as the Philadelphia singer named his upcoming record after it. "Thank you for inspiring me to be great. I guess sometimes holding a grudge is a good thing," wrote HARDY on social media.

Quit!! is HARDY's first LP fully embracing rock music, and follows 2023's the mockingbird & THE CROW. Comprising 13 tracks, the album features Red Hot Chili Peppers' drummer Chad Smith, Limp Bizkit's Fred Durst, and rising star Knox. HARDY also shared a slew of singles ahead, including "Six Feet Under (Caleigh's Song)" and "Psycho." 

The genre-bending artist has just headlined CMA Fest in Nashville, Tennessee, and is currently touring the U.S. throughout the summer. 

More than 10 years after winning "The Voice Season 3," Cassadee Pope has journeyed plenty of roads — from pop punk to country, and now back again. Her upcoming studio album, Hereditary, is due July 12 and marks her first release after deciding to leave country music.

Pope said in a statement that Hereditary "offers a soundtrack to navigate the complexities of life with authenticity and courage." Her first full-length work since 2021's Thrive, the album is also "an emotional rollercoaster ride through the ups and downs of life, love, and self-discovery," where each track is imbued with history. The title Hereditary, according to the statement, "captures the essence of our roots, the echoes of our past, and the quest to carve our own path."

In preparation for the release, Pope shared singles "Eye Contact," "Three of Us," and "I Died" with Daisha McBride. The Hey Monday alum will also launch a North American tour with The Foxies and Natalia Taylar, starting July 11 in Anaheim, California. 

Following the breakout success of her 2023 debut record, Lucky, professional emo cowgirl Megan Moroney will be back in just a few weeks with her sophomore effort, Am I Okay? According to a statement, the album provides "an up-close look at the life-changing pain of heartbreak and the glory of moving on." 

Moroney is said to "light up" each of the LP's 14 tracks with her "signature balance of raw emotional honesty and warmhearted sensitivity." "I think after every song, [a] fair question would be, ‘Is she OK?' Whether it's good or bad," Moroney told ABC audio about the title of the project. "At the beginning, you're like, 'Am I OK?' And then, by the end, it's like, ‘Oh, I don't think she is.'" 

The "Tennessee Orange" singer already shared four tracks from the album, including "No Caller ID," "Man on the Moon," "Indifferent," and "28th of June." Currently, Moroney is opening for Kenny Chesney's Sun Goes Down tour. 

Sturgill Simpson (Johnny Blue Skies) — 'Passage du Desir' (July 12)

Sturgill Simpson will mark the beginning of a new era under the moniker Johnny Blue Skies, after fulfilling his promise to release only five studio albums under his own name with 2020's projects Cuttin' Grass Vol. 2. His first oeuvre is the LP Passage Du Desir, set to come out on July 12.

The album includes eight songs, all produced by Johnny Blue Skies and David Ferguson, and was recorded at both Clement House Recording Studio in Nashville and the iconic Abbey Road Studios in London. Passage Du Desir also marks his first project since 2021's The Ballad of Dood and Juanita.

Fans will be able to meet Johnny Blue Skies for the first time on a lengthy tour titled Why Not? this fall. Some of the stops include Nashville, Tennessee, Washington, D.C., Los Angeles, two nights in Toronto, and Boston. 

OneRepublic — 'Artificial Paradise' (July 12) 

OneRepublic's upcoming album, Artificial Paradise, was inspired by the digital paradigm that we live in now. "So many of these songs were written in the last couple years while we navigated a world full of artificial stories and constructs and paradise," shared frontman Ryan Tedder on Instagram. "All around the world and people's digitally broadcasted lives and the lives that we create for ourselves and the stories that we tell ourselves and others." 

According to Tedder, the album comprises 15 tracks written over the last eight years "that didn't quite make sense together." Hence, previously released singles like "I Don't Wanna Wait" with David Guetta, "Nobody" off the anime series Kaiju No. 8, and "West Coast" are already well known by fans.

Artificial Paradise is the GRAMMY-nominated group's first release since 2021's Human, and precedes a three-day weekend of shows in Colorado Springs, CO, and a string of festival appearances including Summer Sonic Tokyo in Japan, Lollapalooza Berlin in Germany, and Rock in Rio in Brazil. "Amidst all of that artificiality, we are trying to find real connection and real love, and a real story," concludes Tedder. 

To put forward his debut album, Comfort in Chaos, dance music phenomenon John Summit had to dive deep into himself. "John Summit is the performing act, but when I write music I get more vulnerable," he shared in a statement. "While writing this album, I had to go from being in the mindset of John Summit to being John Schuster, my real name." 

Comfort in Chaos arrives after a run of hit singles included in the tracklist, namely "Eat the Bass," "Go Back" with Sub Focus and Julia Church, and the Hayla-featuring duets "Where You Are" and "Shiver." Described as his "most introspective" and "emotional" work to date, Summit took the LP's 12 nifty tracks to expand his Chicago house foundations into genres like garage and drum & bass.

After stellar headline shows at Coachella and sold-out performances at Los Angeles' BMO Stadium and New York City's Madison Square Garden, 2024 is already a pivotal year for the Illinois-born sensation, and Comfort in Chaos arrives to consolidate his impact. As for summer and fall, Summit is booked for 26 shows and festival appearances scheduled around the world, with more to be announced. 

If you're in need of some early 2000s nostalgia, Mexican singer Girl Ultra — real name Mariana de Miguel — is coming out with her fourth EP, blush, on July 12. Inspired by R&B, club music, and trip hop sounds of the new millennium, the album comprises seven tracks that follow de Miguel's "need for experimentation" and lush artistry.

"I wanted short energetic tracks, and in lyrical terms, I was trying to find very precise messages about sadness, femininity and lust that inhabit these current times," she explained further in a statement. Singles "blu," "blush," and "rimel" exemplify that atmosphere, tackling beauty rituals with a touch of melancholy and yearning. Overall, blush is described as a plunge "into the complex dynamics of self-image and sexuality with a poignant touch of bitterness." 

After opening for Julieta Venegas in her hometown of Mexico City and performing at Coachella this year, Girl Ultra is set to support Chromeo and The Midnight on a U.S. tour this fall. 

As the popular saying goes, "third time is the charm" — and so singer/songwriter Clairo (a.k.a Claire Cottrill) decided the title of her third studio album. Charm will arrive on July 12, and was produced by Clairo and Leon Michels of El Michels Affair.

With the announcement, Clairo shared the delicate single "Sexy to Someone," as well as a tracklist with 11 songs. Like her previous LP, 2021's Sling, Charm was recorded in New York's Diamond Mine Recording and Allaire Studios, but this time she tracked it live-to-tape.

In September, Clairo will kickstart separate five-day residencies in both Los Angeles and New York. Further concert dates are expected. 

Since 2018, Orquesta Akokán have brought mambo to the spotlight, honoring its roots and infusing it with fresh twists. "Akokán" is a Cuban Yoruba word meaning "from the heart," and such is the thread underlining all of their work. Following their 2018's eponymous debut and 2021's 16 Rayos, the Cuban music enthusiasts are now ready to put forward Caracoles, out July 12.

For their third LP, producer Jacob Plasse and composer Michael Eckroth combined talents with renowned Cuban singer/songwriter Kiko Ruiz. The result is a danceable, uplifting record that fuses classic and modern traditions. According to a press release, "yes, it's mambo, with its prototypical instrumentation and structures, but these songs belong one hundred percent to 2024." As Ruiz said, Caracoles can "...vibrate your soul, which is precisely what the world needs right now."

"I love to make full length albums, but also the idea of the listener digesting it in two parts initially, forming their own interpretation," said Ashton Irwin, drummer of pop-rock band 5 Seconds of Summer (5SOS), in a press release about his sophomore solo album. "It's important to me, as a fan of music, to have a comprehensive body of work to fully dig into the artist's perspective."

Following 2020's Superbloom, Blood On The Drums is divided in two installments: Side 1, dubbed The Thorns, came out on June 12, and Side 2, The Roses, is set for release on July 17. Totaling 16 tracks, the LP blends 80s-inspired melodies with classic rock, experimental pop, and more, as it traverses Irwin's highs and lows. "I was thinking about the people I left behind, the people I miss, the family that I had to leave when I was young," the Australian musician shared. "Thinking about the addictions I've been through. The way I evolved as a young man who never had a father."

The title of the album is intended to be "a metaphor for how much I've given my music," said Irwin. To celebrate the release, he will play a single show at Los Angeles' The Belasco on July 18. 

Highly Suspect — 'As Above, So Below' (July 19)

The Massachusetts rockers of Highly Suspect are gearing up to release their fifth full-length album, As Above, So Below. Following 2022's The Midnight Demon Club, the band opted to tone down the electronic elements and embrace a more psychedelic, stoner rock sound, as can be heard on pre-release track "Summertime Voodoo."

"If my life is a book, then this album is the first chapter that truly addresses the central conflict," frontman Johnny Stevens said in a press statement. "The recognition of an ego, the problems it's caused — and the birth of its death. ‘As Above, So Below.' If I'm being real, I hit rock bottom again. After another close call with death, I feel wide awake. I don't know how the book ends yet, but I'm very engaged in the plot now. I'd rather it not end at all."

To celebrate, Highly Suspect will play the new album in its entirety in an intimate, seven-city U.S. Tour, kicking off on July 24 in Memphis, Tennessee and wrapping up on August 2 in Brooklyn. 

Deep Purple — '=1' (July 19)

Few bands get to release 23 albums, and for that fact alone, Deep Purple deserve praise. It does help that they are rock legends in their own right, therefore, =1 comes as a sweet, inspiring surprise.

Paired with acclaimed producer Bob Ezrin once again, =1 sees the British band evoke their classic sound "without relying on nostalgia," according to a statement. They promise to bring "rip-roaring rock n' roll" in 13 energetic tracks, and a taste of what's to come can be seen in singles "Portable Door" and "Pictures of You." It is also the band's first album with guitarist Simon McBride, who joined the band after member Steve Morse left due to personal circumstances in 2022.

The title =1 symbolizes the idea that, in a complex world, everything eventually equals one. In that communal spirit, Deep Purple is set for an extensive tour, starting with European dates in July, North and South American shows in September, and back with more European dates throughout November. 

"The album is a concept album where we get into the world of Afro-surrealism with a high school kid who's madly in love with a popular girl, but she really has no idea he exists," explained BLK ODYSSY about his upcoming album, 1-800-FANTASY, in an interview with BET. "He understands that she's out of his league but he is dedicated to proving to her that he's worthy of her attention and her love."

1-800-FANTASY follows that story while dipping into themes of mental health and self-control. "He creates these characters in his head to justify his crazy actions that he goes through to get her attention," BLK said, adding that that's where the album's "angsty sound" comes from. So far, a preview of that atmosphere can be seen in singles "XXX" with Wiz Khalifa, and a live performance of "Phase" at A Colors Show.

Born Juwan Elcock in New Jersey, he cites Kendrick Lamar, D'Angelo, and Outkast as influences to his own brand of alt-R&B and hip hop. "Whether it's me as an artist, or me as a producer, it is a very cinematic sound," he shared. "And it's a very theatrical sound, I like to take elements from what the human perceives as real life and put it in my music."

BLK will promote the album in his The Fantasy House tour this summer, starting off in North America and following up with European dates. 

One of last year's biggest revelations, GRAMMY-nominated rapper Ice Spice will finally release her debut LP, Y2K!. Titled as a nod to her birthdate (1st January 2000), the long-awaited effort comes after 2023's acclaimed EP Like..?, and was co-produced by longtime collaborator RIOTUSA.

Ice Spice has been keeping the 10-song tracklist a mystery, though, and so far shared only three singles: "Think U The Shit (Fart)," "Gimmie A Light" (which samples Sean Paul's similarly titled "Gimme the Light"), and "Phat Butt." In an interview with "The Today Show", she also revealed to have locked in a "crazy collaboration," and to have experimented with "a lot of different sounding beats that I haven't really been heard on much."

Starting July, the Bronx native will be busy with a handful of performances at European Festivals, followed up by a 17-date North American tour in August.

CULTS — 'To The Ghosts' (July 26)

Madeline Follin and Brian Oblivion have been making soft alt-pop music as the duo Cults for over a decade now. July brings forth yet another of their magical offerings: fifth studio album To The Ghosts, out via IMPERIAL on July 26.

The first ideas for the album sprung up during the COVID-19 pandemic, "when they wrote music on weekdays from 10am-5pm with no deadlines or distractions," says a press release. To The Ghosts was recorded at Oblivion's apartment, and co-produced by trusted collaborator Shane Stoneback. The New York duo shared singles "Crybaby" and "Left My Keys" in advance. Of the latter, Oblivion stated that "With this being To the Ghosts, ‘Left My Keys' is dedicated to the ghost of your high school memories with an element of fondness."

Cults will kick off a headline North American tour in August, followed by a month-long stint as the opening act for Vampire Weekend's Only God Was Above Us tour.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,  Cage, and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

**Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?**

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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